Creative Play as an artist I read Eliza Pitri's book, Art Education, and found that the creative play she emphasized time and time again was all contained in the simple example given just above. It is that adults often look at children playing and say, “Now, do you want to stop playing and do something else?, is a dangerous question that blocks emotional and social growth before reaching adulthood. She described play as a very serious area from an educational point of view (even using the word business). In other words, it is an essential learning medium.
This is essential for children's education and growth, and it was argued that play-style learning should be introduced to the entire curriculum, not limited to a simple recess time in the curriculum. To underscore this importance, she cites as an example that by the age of 4, children can learn everything through play without any additional instruction. This kind of play is spontaneous and creative, with unlimited freedom without any restrictions. In other words, in her words, “there is no extrinsic goal, motivation is intrinsic.” Therefore, it is said that even teachers or parents should play as friends without intervening in this. This is because at the moment of intervention, play is distorted and controlled, and passively with someone's notice. She believes that because play occurs with familiar objects and follows her search for unfamiliar objects, she gives meaning to her actions and gives her self-control. The goal of this creative education is to enable children to make choices, communicate their choices through play, and receive feedback from others. At this point, I remembered an experience when I lived in Germany. In the town called Waldstadt where I live, the Waldorf School was very close. I often passed the Waldorf School or took a walk there. However, I noticed one strange thing. The children were playing outside every day. And they used to show off what they made while watching me pass by like a wonder. I asked her husband on a walk, ‘Is it okay that you guys play like that every day?’ And later, I was surprised to learn that the school was attended by outstanding German Nobel laureates and artists. I play like that every day, but when did I study and get the Nobel Prize? However, according to Sponseller (1974), as the starting point of Eliza Pitri's artistic and creative play education was to identify the positive contributions that play provides to all stages of life and all areas of development, I unknowingly confirmed the positive contributions with my own eyes. It has been counted. To sum up, Eliza Pitri's creative play uses the spontaneous, free, self-exploratory, intrinsic, and communicative attributes of play itself among the functions of play that can make a positive contribution throughout life to solve problems occurring in the educational field. It means to use it as a medium that can be used. The limitless freedom of play and the capacity for unconventional creative forces are once again confirmed at the Victoria School. I wanted to know the driving force of this school, astonished by the fact that a university that had been in ruins due to a simple low enrollment rate has now become the best art university in North America since 1985 when Bob Maskell took over as principal. Principal Bob Maskell converted the school into an arts-oriented school and actively employed professional artists. And it has changed children's education from tedious paper and pencil learning on a desk to space education that takes place on a playground, auditorium, or stage under the leadership of a professional artist. In free spaces, children develop a greater sense of ownership in their learning experiences, as knowledge is not acquired as a collection of facts, but rather within the context created by a theme or story. I especially like Sherrl Cleland, art teacher's words, using art as part of 'practice' should be as natural as breathing. Music, fine arts, drama, dance and literary arts make the teaching and learning process three-dimensional, more realistic and therefore more meaningful. In fact, through a project called The Space Between, they share the thematic characteristics of the gallery's current exhibitions and experiences between visual artists and viewers, performers and audiences, students and professional artists, and develop themselves as true artists. This is the same point of view in that Eliza Pitri's creative play utilizes the multifaceted advantages of play, but in Eliza Pitri's case, there is a difference in that professional instructors or artists are involved, unlike Eliza Pitri's play, which excludes external factors as much as possible. In my opinion, in childhood, Eliza Pitri's play classes help develop children's creativity, but for students who have to step into the jungle of direct socialization as adolescence, I think the Victorian school style professional education is more suitable. This is because Victoria School engages experts, but participates as a partner sharing the experiences of student-led projects, so I think it is a good way to systemize it to some extent rather than leaving it as play itself without a separate system, even if it is creative play. . It's just that using the aforementioned art as part of your practice should be as natural as breathing. Finally, I am very happy that through creative play I have found clues and evidences that will give meaning to my artistic activities. Through my painting work for the past 10 years, I have created a philosophy that painting should be natural, spontaneous, free, spontaneous, interactive and accessible like play. This is the result of a combination of failures, trial and error, and rewards that I have experienced through painting. In that sense, I am currently concentrating on creating natural patterns using the baluns meshing technique. I needed a name for this job. And I feel very lucky to have discovered the name of my work.
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The important contributions of theatre games to social-emotional learning Winifred Ward, the founder of the field of creative drama, created children's theater with the philosophy that instead of memorizing parts of speech and acting set up by a teacher, children develop a play with their own thoughts, imaginations and emotions. This is also confirmed by Nellie McCaslin in her book Seeking the Aesthetic in Creative Drama and Theater for Young Audiences. “Let your child have an aesthetic experience in drama class?” I am sure. It is time to emphasize honest acting without burden. As long as you don’t memorize lines or do things to please others.”The efficacy of theatrical games according to the components of SEL (social emotional learning) can be summarized as follows.
Self-awareness -There is a saying from Steve Kay in a TED talk, ‘We are designed to play’. We usually think of the opposite of play as work, but it's not that, it's depression. Through play, we learn who we are, what we like, and what we pursue. If this kind of play becomes artificial or determined from outside control, people in the North Korean system will live a life without themselves, just like playing card section. Self Management -Sussanne Longer said in her book Short Excerpt from Creative Drama in the Classroom and Beyond that “art creates perceptible forms expressive of human feeling”. And the words below of what she said after that are very meaningful to me. “Laugh at mistake!!!” We express ourselves freely in the safest and most comfortable state through play games. This increases your awareness and understanding of human emotions, including your own. As a result, you will understand and accept your own mistakes and imperfections. Eventually, you become tolerant of the imperfections and mistakes of others. You will manage yourself more positively and develop, reduce stress, and gain strong courage and motivation to go out into the world. Social awareness - According to Sheldon Patinkin's Plays (2000), drama activities don't usually happen at a desk. Students need open space for movement. Impromptu games are not meant to be won or lost, nor are they games for fun. They are in the moment, completely present to each other on stage. As the textbook, Drama for the inclusive classroom is introduced in Chapter 1, it is easy to perceive society itself as a jungle-like competitive society under the influence of excessive mass media. Through SNS, we easily divide everything into likes/dislikes. It's easy to think that this world is a win-lose game, maintained by popularity. At this time, drama activities help us to realize that the world we perceive is more developed, healthy, and wholesome through experiencing presence on stage. Relationship technology - Economic psychologist Paul J. Zak discovered that when we respect each other, play together, and laugh together, the feel-good hormone oxytocin is released in our brains and bodies. It motivates you to expand your social network, make friends, and reach out to others in a positive way (Zak, 2012). A virtuous cycle is created in which oxytocin creates feelings of respect, trust and empathy. These social experiences lead to collaboration, connection, and sharing, which in turn leads to more oxytocin, which in turn leads to more. - I was able to confirm this again through Vicky Saye Henderson's TED talk. In other words, how easily you can get to know each other just by playing a game where people face each other in a circle. Through theatrical games, people can slowly take off their armor, take off their formality, and show their truest selves. This helps build a real relationship. Responsible decision making - To summarize the text of Excerpt from Improvisation for the Theater, the game is a skill to make the rules of the game while enjoying yourself without external authority, do self-discipline, and make the right decision for yourself without being swayed by the gaze and evaluation of others. it grows This helps students to make responsible decisions as independent beings, unlike passive closed education, which makes them unable to do anything without a teacher or leader. Drama for the inclusive classroomActivities to support curriculum and social-emotional learning Chapter 1 Drama activities typically do not happen at a desk. they require an open space in which students can move about. Because many special education and some late-maturing neurotypical students lack the ability to manage their own bodies in space, behavior problems can appear when they get up from their desks. Chapter one: the structure for a drama lesson warm-up, activity, de-roling, discussion and closure is explained.
The improvisational games aren’t games in the sense of winning and losing and they aren’t about being funny. They are about being in the moment, they are about being totally present to each other onstage-being in play by Sheldon Patinkin(2000)
The Pygmalion effect If you believe someone you are teaching has the potential to succeed, you create a self-fulfilling prophecy for the. You kew who believed in you. Those people held a positive image of you in their hearts and in their mind’s eye. You felt safe with the. They encored you. Economic psychologist Paul J. Zak has discovered that when we show respect for each other, play together, and laugh together, we release oxytocin, a feel-good hormone, into our brain and body. It motivates us to expand our social network, make friends, and reach out to others in positive ways(Zak, 2012). A virtuous cycle is created in which oxytocin generates feelings of respect, trust and empathy. Those social experiences lead to cooperation, connection, and sharing, which, in turn, lead to more oxytocin and that leads to more…you get the picture(Zak, 2012). Allow the joy of working together on creative projects to weave a web of kindness throughout your classroom. Autonomy comes into play when students are doing drama because even in a collaborative game like Machines, everyone has their part to play to make the group successful. Positive attention and feelings of self-efficacy are created when students participate in improvisational scenes. Autonomy links into creating a more internal locus of control or belief in one’s ability to make changes effectively in one’s life(Norwicki, 2016) Meaning-making Drama as the perfect platform for allowing meaning-making to emerge. Students can share their meaningful metaphors with each other, revealing different representations and perspectives of the material they have been working together to understand. Digital media’s effect on executive functions Deficits in executive functioning are often found in students who have learning and neurological differences, but in the past 20 years dysfunctions have been discovered in neurotypical students as well. The cause is believed to be their growing use of digital devices. In 2017 common sense media reported that children between age group of zero to eight spent two and quarter hours per day on screens. The electronic media students interact with daily from iPads to smartphones and from the internet to ebooks take a toll on their ability to sustain attention and block out distractions, control their impulses, retain information, self-reflect, think critically, analyze, and use their imaginations. -traditional Tae-kwon do, yoga, mindfulness, and trying in theatre improve executive functions. Drama can be incorporated into the teaching of science, history, language, reading and even mathematics. They become more memorable for students by making them more concrete and comprehensible. Children's educational theatreWinifred Ward (C1905) is a founder of the creative field of drama, author of an important textbook, visionary director of children's theatre, mentor to a generation of drama professionals and an international ambassador for the arts' advocacy. Born and raised in Eldora, State, Ward spent many summers in Washington, D.C., attending theater performances. This early exposure to theater influenced Ward throughout her career. Through this influence, she discovered the role and importance of theater performances for children. She has dedicated her life to helping children experience and appreciate the theatrical art, and she actually wants to open up the wonderful world of drama to her children.
Children's theater began when Ward assigned her School of Speech students to study theater for young people by performing plays for an audience at Evanston Elementary School. The first work in 1925 was Snow White. It was a hit. Ward also founded the field of creative drama, a classroom teaching method that emphasized her self-expression, teaching spoken English, and appreciating literature. The biggest feature of creative play is that there is no script. Ward, the theater director for Evanston's elementary school district, taught that "instead of memorizing speech and acting segments set out in the way the teacher dictates, children develop the play with their own thoughts, imaginations and emotions." “Winifred Ward, founder of the creative field of drama, author of an important textbook, visionary director of children's theater, mentor to a generation of drama professionals and international ambassador for the advocacy of the arts, Winifred Ward has been a foremost figure in our field. everyone knows." The role of artistic plan in problem solvingby Eliza Pitri , Art Education; May 2001 Art teachers, as well as early childhood teachers, often encounter situations where they need to justify the use of artistic and playful experiences in programs for young children. As Eisner(1990) points out, art and play, like imagination and fantasy, are not regarded as a part of the serious business of schooling. I view play, and more specifically artistic play, as an essential learning medium. According to Sponseller(1974), this perspective is an affirmation of the positive contribution that play offers to all stages of life and all areas of development. By the time children reach 4 years of age, they develop rapidly, without participating in any formalized learning programs. By that age and through play, they learn to walk, run, jump,hide,tease,talk,build, etc. But at this time, adults often talk to children. Why don't we stop playing and study? The purpose of this article is to discuss the importance of artistic play and its effects on children's thinking. Play is regarded as one of the characteristic features of childhood, but there is no single definition of what it really is. It is an obvious commonplace behavior and this may dampen the interest of investigating it. Because it takes place everywhere, it is obvious and there is no need to discover it. Playing has been considered a phenomenon stretching across a knowledge spectrum that includes biology, psychology, sociology, and anthropology. Because of its multidimensionality, it requires explanations from multiple perspectives, including the perspective of art educators. Play is spontaneous and voluntary. It is not obligatory but is freely chosen by the player. It has no extrinsic goals, its motivations are intrinsic. Fun itself is intrinsic, and the yield is confined to the player. Anyone and anything that intervenes between the player and the play interrupts the fun and distorts his or her performance. Players are concerned with the process of an activity more than its results. Goals are self-imposed, and existing rules can be modified. Play occurs with familiar objects, or it follows the exploration of unfamiliar objects. Children supply their own meanings to activities and control the situations themselves. Educational play is, indeed, serous in that the player is deeply absorbed in enjoyment. The role of the adult in children's play is not that of an instructor or entertainer, but rather of a friend, whose presence will insure the quality and appropriateness of the experience. If the teacher manipulates the context of children's play without limiting their freedom of choice or controlling their spontaneity, then play can become educational and, as Sponseller(1978) calls it, a medium for learning. - The process of artmaking for individuals of all ages in an inquiry activity of exploring and expressing ideas that reflect experiences by Sutton-Smith(1972) -Artmaking is associated with the philosophy of creative play, which is based on the premise that the more our emotions are involved, the more sensory information we receive, and the more easily learning takes place. by Monighan-Nourot et al.(1987) -What makes artistic play distinct from other forms of educational play is the classroom context in which children function. The development of artistic play requires specific physical settings, materials, and teacher's actions, which are related to aesthetic expression and inquiry. -As Van Horn et al.(1990) note, the spontaneity with which children turn art into play does not mean that specific planning for art need not take place. - The goal is to allow the children to make choices, communicate their choices through their play, and receive feedback from others. Princess in the Rainy Forest project. : It is an example of motivating the children and proving them with resources to engage in artistic play. The teacher manipulated only the context of learning (tools, materials, settings), and the students freely chose to participate in playful process that involved reasoning and problem solving. (Symbolic play) Children had to decode the visual symbol of the puppet to perceive it as a princess and also respond to the language symbol of the rainy forest. (Prediction of events, Estimation of probabilities, Reasoning about cause and effect, Drawing conclusions about the nature of things.
After children encounter a problem, they form and test hypotheses. Hypothesis testing, an ability often tied to scientific thinking, in reality occurs in all forms of thought. -Play is a vital ingredient of this context because the child is playing with ideas that are roughly at the level at which they can be assimilated. New evidence provided through play leads children to proceed with problem solving by either rejecting and rethinking their hypotheses or accepting them. -Play allows for diverse interpretations of situations and multiple use of materials and therefore encourages cognitive flexibility in the solution of problems. Playful art activities offer children the opportunity to manipulate actual objects, act out the problem, and develop diverse solutions. |
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